FORMING THE EYE - A secret way of seeing beyond vision

Abstract

The title refers to the concept of the verb “to form”: “forming” intended as training to comprehend vision and its composition, to realize that what we see in art is just one part of what we understand of its meaning.The main sense that I would like to focus on comes from the verb “to nourish”, so that vision is the nourishment of the eye.It is a basic need of a person, necessary not only to understand reality, but to see in a clearer way the cause-effect of processes, and at its center, it is nourishment for the eye, like a deep inner growth.The main topic of my research is about hidden connections between different invisible languages and perceptions as sounds, poetry, visual poetry and visual abstraction.Intending the artworks as threshold, gate, window, liminal space beyond the surface of a first view, I would like to express my inner sphere communicating memories together with ancestral and common outer perspectives.Intuition during the artistic creation, is not just thought, but understanding and senses in action, where it opens up to introspectivity and to the contemporary outside world at the same time.Indeed creative composition is the movement of senses, in which it is not only the balance of mere materials that animates and generates it, but the union of visions and listening, together with the rhythm and vibration of visible and invisible perceptions.Starting from the first chapter, with the introspective and contemporary need of reflection, making some observations on my practice, which will be the fil rouge of my research, I will analyze how different media can be distilled and summarized in the qualitative movement of visual perceptions and sounds.I will then investigate the abstraction and primitive memory of touching visible and invisible relationship of the artwork, to explore the perception as a sensory island, the punctum of Barthes, in intermedia(1) and what is beyond the surface of the two dimensional perspective, standing on the poetic threshold, in the end.My research methodology was an interdisciplinary one, which translated musical-visual forms into an inter-connected pattern of sounds and lights.In this research I have collected the most significant and sensorial artworks that I have produced to experience the text.I will explore my perception, creative process and practice, analyzing my experimental method of manipulation audio and video, connected to different cultures, histories, environments and atmospheres, from Italy, where I cultivated the first shoots of my first artistic visions to Iceland, where I developed the sprouts of a strong passion.(1)[..] the word "intermedia," appears in the writings of Samuel Taylor Coleridge in 1812 in exactly its contemporary sense-to define works which fall conceptually between media that are already known […] Dick Higgins, Intermedia: Dick Higgins with an Appendix by Hannah Higgins, Leonardo , 2001, Vol. 34, No. 1 (2001), pp. 49-54, p. 52, https://www.jstor.org/stable/1576984